As stated ear­lier, the com­poser origi­nally does not bind him­self to an in­stru­ment-spe­cific tone but rather thinks,
“How can the mu­sic I have heard within be pro­duced out­side?”

With re­gard to the in­stru­ment, the con­ven­tional prac­tice of play­ing and per­form­ing fol­lows the path of least re­sis­tance
of the in­stru­ment, but it does not win the deep trust of the lis­tener.

This is why, dur­ing the last cen­tu­ries, mu­si­cal forms were changed rap­idly. Through ever new mu­si­cal or­ders the com­pos­ers wanted to in­spire the per­for­mers to seize con­trol – a natu­ral mas­tery – over their in­stru­ments and thus hoped to free them from the dust of life­lessness.

The fact that Wagner’s or­ches­tra, for in­stance, sounds dif­fer­ent from Beethoven’s or­ches­tra – even if their re­spec­tive mu­sic is played by the very same or­ches­tra, is sim­ply the ex­pres­sion of the com­poser’s in­ces­sant strive to en­cour­age the mu­si­cian’s mas­tery over his in­stru­ment; for, some­one who does not mas­ter his in­stru­ment with his mind may well pro­duce sounds but not liv­ing mu­sic. And some­one who does not truly want to mas­ter his in­stru­ment is not fit for a mu­si­cian – a fact which is con­firmed by many in­stru­men­talists who retire early from prac­ti­cal mu­si­cal ac­tiv­ity and be­come mu­sic “edu­ca­tors” or con­duc­tors.

Suc­cess­ful mu­si­cal edu­ca­tion, how­ever, is based on per­sonal ex­ample.